When exposed, one gets so much fascinated by the rich choreographical elements and theatrical techniques in Krishnattam. One often wishes if good books on Krishnattam are available. In fact only few books are available. The latest entrant in this field is the book, The Royal Temple Theater of Krishnattam written by Martha Bush Ashton Sikora, Robert P. Sikora, A. Purushothaman and A. Harindranath and published by D.K. Printworld, New Delhi . The senior author, Dr. Martha has done a very nice job of capturing the cultural heritage of Krishnattam in a scholarly and at the same time readable book. The book is well written and well illustrated.
The senior author starts her narration in an attractive personal note on her first exposure to the nuances of Krishnattam. She took pains to travel to remote villages in different localities in central Kerala just to feel the pulses of rural Kerala and to witness Krishnattam performances in such rustic surroundings. This first chapter named "My introduction to Krishnattam" is inspiring particularly to Keralite reader because Dr. Martha conjures the old world charm of rural Kerala in its relation to Krishnattam. In this sense, this first chapter goes beyond Krishnattam and delves deep into subtler shades of Kerala life. She weaves a magic carpet where Krishnattam gets entangled with the general cultural threads of life in Kerala. The reader gets fully prepared by now to enjoy the Royal Temple Theater of Krishnattam simply because of the evocation of nostalgic memories which everyone cherishes proudly.
Chapters 2, 3, 4 and 5 trace the historical evolution of Krishnattam from the time of its creator, namely King Manaveda, the Zamorin of Calicut who lived in the 17th century. The influence of Gitagovindam of Jayadeva and the choreographic version of Ashtapadiyattam are stressed. The members of the Nair community who were traditionally the Zamorin's soldiers came to be chosen as dancers in Krishnattam while the singers were members of the Brahmin community.
Social upheavals in the middle of the 20th century forced the Zamorins to forego many of their royal privileges and they found it difficult to go on supporting Krishnattam. Timely help came from the rich Guruvayur Devaswom and in 1958 Krishnattam came under the safe protection of the Guruvayur Temple. Chapter 4 focusses the crucial part played by A.C.G. Raja of the Valluvanad royal family. The transition of Krishnattam from its more traditional moorings to comparatively more modern theatrical counterparts was effected under the inspiring leadership given by A.C.G.Raja. During his tenure (1961-1983) as Superintendent of Kshetra Kalanilayam, Krishnattam got exposed to more urban and secular platforms in major cities like Mumbai, Chennai, Delhi etc. The troupe performed in Europe. It got recognition from Kendra Sangeeta Nataka Akademi. Breathing more urbanized air, Krishnattam found itself in a more competitive atmosphere. One began to have an urge to exactly define and even to redefine Krishnattam. The chapter on recent times (1984-1990) precisely deals with this modern period. Chapters 6, 7 and 8 deal with the teaching and performance aspects of this royal-cum-religious theatrical form. These chapters, even though they are to deal with supposedly more professional and technical aspects, are written with an air of personal warmth so much so that the reader is immediately attracted to even these technical aspects. So much of what would have become dry stuff, has become readable material and the authors deserve our congratulations.
The last two chapters (chapter 9 and 10) are on the future of Krishnattam. In a world of internet revolution and globalization, Krishnattam also may require a redefining of its ethos and artistic values. Is it enough if it continues in the present condition? Is it not or is it languishing, cloistered as it is without competition? It is suggested that exposure of Krishnattam abroad will certainly boost its image at the national level. This is particularly true since a foreign audience is immediately attracted by the visual brilliance of this beautiful theatrical form which is so rich in its visual techniques like masks. It may be pointed out that the group dance aspect of Krishnattam and the lyrical idiom of this theatrical form have not received enough attention in this book. The scintillating group dance idioms of Krishnattam reach a peak in the play 'Rasakrida' when the Jasmine Garland Weaving (Mullappoo Chuttal) is performed. These are moments where even the more famous Kathakali fades in comparison. 'Rasakrida' which perhaps has less theatrical elements is sheer magic when viewed from the angle of pure dance.
The book is richly illustrated by 46 photographs and has 10 appendices on various topics related to Krishnattam which are not otherwise treated in the chapters. This book is a must for all libraries on performing arts and also on the book shelves of connoisseurs of arts.
Dr. T.N. Vasudevan
Padinjare Thiyyadi
Madhyamavathi
P.O. Mulankunnathukavu
Thrissur -- 680 581, Kerala
Tel: 0487 2203246